This method of finishing has therefore been
much recommended and adopted, but without consideration of the effect of
distortion in connection with it. In an ordinary photograph the print is
mounted damp, but in the case of a print squeegeed on to the glass, the
paper is saturated and thoroughly swollen, and the use of the squeegee
strains it out to its fullest extent. By drying in the position in which
it has been held by contact with the glass, the distortion becomes fixed,
and if the print is mounted while in this state the distortion is made
permanent. How long the strain and distortion remain in an unmounted
print, and whether by time and alternations of moisture and dryness the
strain would be lost, and if so, whether the brilliant enamel surface
would go at the same time, are questions worthy of further investigation
and discussion.
For mounting prints upon developed gelatine paper, it has been
recommended to cement the edges only, so as to leave the greater part of
the print with its enamel surface. This plan is unsatisfactory, for two
reasons, besides the objection on the ground of distortion. There is a
rough-looking margin which spoils the continuity of appearance,
especially (as in the specimens I have seen) where the line of cement is
not kept at an exact width, but encroaches here and there.
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